The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and performed approximately forty-five minutes of music for various media. My compositions were performed on January 27 (Autumn Fantasia) and February 20 (Five Elements) of 2006, and March 12 (Bounce!), 30 (The Little Fairy), April 3 (String Quartet No.1), August 15 (Ballads of Four Seasons) and November 19 (Three Pieces for Solo Violin) of 2007. Briefly, each work was written in different compositional approach such as the timbres, specific colors, textures, themes and rhythmic practices. Autumn Fantasia and The Little Fairy explore the transformations and developments of thematic material. Bounce! is a piece in the procedure of tempo modulations and polyrhythmic practices. The textural experiment is the "source" for String Quartet No. 1. In both Ballads of Four Seasons and Five Elements, I employed the oriental tone color (pentatonic scales) in one particular line combining with western-based (chromaticism) sonority and sounding in other parts. Finally, to accumulate every compositional skills and techniques, Three Pieces for Solo Violin is a work binding each practices altogether.

The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and performed approximately forty-five minutes of music for various media. My compositions were performed on January 27 (Autumn Fantasia) and February 20 (Five Elements) of 2006, and March 12 (Bounce!), 30 (The Little Fairy), April 3 (String Quartet No.1), August 15 (Ballads of Four Seasons) and November 19 (Three Pieces for Solo Violin) of 2007. Briefly, each work was written in different compositional approach such as the timbres, specific colors, textures, themes and rhythmic practices. Autumn Fantasia and The Little Fairy explore the transformations and developments of thematic material. Bounce! is a piece in the procedure of tempo modulations and polyrhythmic practices. The textural experiment is the "source" for String Quartet No. 1. In both Ballads of Four Seasons and Five Elements, I employed the oriental tone color (pentatonic scales) in one particular line combining with western-based (chromaticism) sonority and sounding in other parts. Finally, to accumulate every compositional skills and techniques, Three Pieces for Solo Violin is a work binding each practices altogether.

The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and performed approximately forty-five minutes of music for various media. My compositions were performed on January 27 (Autumn Fantasia) and February 20 (Five Elements) of 2006, and March 12 (Bounce!), 30 (The Little Fairy), April 3 (String Quartet No.1), August 15 (Ballads of Four Seasons) and November 19 (Three Pieces for Solo Violin) of 2007. Briefly, each work was written in different compositional approach such as the timbres, specific colors, textures, themes and rhythmic practices. Autumn Fantasia and The Little Fairy explore the transformations and developments of thematic material. Bounce! is a piece in the procedure of tempo modulations and polyrhythmic practices. The textural experiment is the "source" for String Quartet No. 1. In both Ballads of Four Seasons and Five Elements, I employed the oriental tone color (pentatonic scales) in one particular line combining with western-based (chromaticism) sonority and sounding in other parts. Finally, to accumulate every compositional skills and techniques, Three Pieces for Solo Violin is a work binding each practices altogether. / Arts, Faculty of / Music, School of / Graduate

My monograph focuses on the Instants d’un Opera de Pekin by the contemporary Chinese composer Qigang Chen in particular how he incorporates Chinese musical elements with Western compositional techniques. The main focus of this study is an analysis with emphasis on performance issues. A brief introduction to Chinese music elements is provided to establish a context. This document provides brief information about Chinese scale modes and instruments.

Tse, Chun Yan Victor. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 204-226). / Photocopy. Ann Arbor, Mich. : ProQuest LLC, 2011. xi, 226 p. : music ; 29 cm. / Abstract also in Chinese; includes Chinese characters. / Abstract --- p.i / Abstract in Chinese --- p.iii / Acknowledgments --- p.iv / List of tables --- p.viii / List of graphs --- p.ix / List of appendices at the end of individual chapters --- p.ix / List of abbreviations of qin handbooks --- p.X / Chapter Chapter 1 --- Background of the research --- p.1 / Chapter Chapter 2 --- Overview of the research methodology --- p.23 / Chapter Chapter 3 --- An illustrated methodology in reconstructing qin music from past scores guyuan 古怨 of the Southern Song Dynasty --- p.36 / Chapter Chapter 4 --- Chromaticism in Ming Dynasty scores -baixue 白雪 in Shenqi mipu 神奇秘譜 --- p.67 / Chapter Chapter 5 --- From chromaticism to pentatonism - baixue 白雪 in other Ming and Qing Dynasty handbooks --- p.91 / Chapter Chapter 6 --- Non-circle-of-fifths intonations in Qing Dynasty scores --- p.119 / Chapter Chapter 7 --- Varying 4th and 7th degrees - dongting qiusi 洞庭秋思 in Ming and Qing Dynasty handbooks --- p.143 / Chapter Chapter 8 --- Convergence of ideology and practice --- p.168 / Chapter Chapter 9 --- Conclusion ´ؤ looking back and looking forward --- p.199 / References --- p.204

The Kenyah, an indigenous group dwelling in the mountainous plateau region and the upper reaches of four major rivers of Borneo, constitute one of many minority communities in Sarawak, the largest state of Malaysia. This small, isolated community has nurtured refined forms of visual and performing arts, such as the music of the sape, a boat-shaped lute which has become a national cultural emblem. Kenyah historical and socio-cultural background is shown to have played a major role in shaping the development of a sophisticated choral singing tradition featuring homophonic harmony. Their substantial repertoire of attractive recreational songs and community-wide participation in musicking form the focus of this thesis, viewed from the perspective of music education. The growing stature of world musics within the sphere of music education has led to increasing collaboration between ethnomusicologists and music educators to investigate and disseminate traditional genres. Kenyah songs, being distinctly Asian in flavour, yet largely conforming to classical Western musical syntax, would be especially valuable for world music programmes. However, in Malaysia, the shortage of available, relevant teaching materials, especially folksongs in a variety of tonalities, ill-equips the teachers to teach music genuinely reflecting local cultures, or to implement international approaches such as those of Kodály and Orff. Analysis of over eighty songs documented during fieldwork in two different river-systems since 1996 demonstrated that they display a range of tonalities (predominantly pentatonic, hence especially amenable to Kodály programmes), emotional variety, rhythmic consistency and associated dance movements. The song-texts feature poetic references to a variety of interesting subjects. Responses from schoolchildren, workshop-participants and teacher-trainees demonstrated that the songs held wide appeal for both inherent and delineated meanings. Many succeeded in mastering the melody, lyrics, harmony and movements despite lack of familiarity with the language. Choral performances of the songs, although attracting some points of criticism regarding modifications, drew approval from culture-bearers who expressed gratification that non-Kenyah could perform songs fast disappearing from their own community. Kenyah recreational songs would thus be a timely addition to music classes and to choral repertoire around the world. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / Unrestricted

This bachelor essay aims to explore how composition with pentatonic scales can help to expand the vocabulary of a jazz improviser. It also has the purpose of expanding the knowledge of the relationship between harmony and pentatonic scales. I have written five melodies with five different pentatonic scales to see how composing can affect my improvisational skills on the tenor saxophone. The method is to get familiar with the scales, write a melody and then harmonize it.  Composition utilizing pentatonic scales can affect how you improvise. The pentatonic scales provide sounds that can be very useful. I play larger intervals when improvising. It was also beneficial to dig deep into the pentatonic landscape and to find the spiciest notes of each scale. After this study, I have a better knowledge of harmony and the pentatonic scales that can go with it. During this investigation, I have considered doing this again, choosing scales whose span is larger than one octave. / <p>Kompositör och arraggör: Emil Kjellqvist</p><p>Repertoar: Änglatrumpet, Körsbär, Skalman, På väg hem, Rosenlundsparken.</p><p>Medverkande musiker: Emil Kjellqvist- tenorsaxofon, Tumi Torfason- trumpet, Isac Schillberg- altsaxofon, Melker Annas- trombon, David Stener- piano, Olle Lannér Risenfors- kontrabas, Filip Öhman- trummor.</p><p>Bifogar även en ljudfil ifrån min examenskonsert med ovansatående musiker samt låtar. </p>

This research aims to trace the influence of McCoy Tyner's style of "intervallic improvisation" on Chick Corea and Kenny Kirkland, as evident in both later pianists' use of triad shapes and patterns based on pentatonic and octatonic scales. While the languages of Chick Corea and Kenny Kirkland were influenced by Tyner, they each subsequently established different harmonic structures and rhythmic devices. Therefore, I describe the stylistic similarity of pentatonic cells based on an intervallic approach to improvisation from one generation to the next with Tyner's improvisational vocabulary found in Kenny Kirkland and Chick Corea. Then, I demonstrate its modernization with octatonic patterns and triad pairs in the jazz tradition via a comparison of the improvisational tendencies of Kirkland and Corea.

The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.

Syftet med denna studie är att undersöka gitarrlärares syn på studenters förkunskaper inom pentatonik då de börjar inom högre musikutbildning. Metoden för studien bygger på kvalitativa intervjuer av tre erfarna gitarrpedagoger med flera decennier bakom sig inom högskola och folkhögskola. Studien har sin utgångspunkt ur ett sociokulturellt perspektiv. Resultatet visar på att lärarna uppfattar att studenter besitter förkunskaper inom pentatonik men att det finns tydliga kunskapsluckor. / The purpose of this study is to investigate guitar teachers’ views on college students’ prior knowledge of the pentatonic scale. The methodology used was based on interviews with three experienced college level teachers with several decades of teaching experience behind them. The study is rooted in a socio-cultural perspective. The result shows that the teachers unanimously believe the students enter higher education with prior knowledge of the pentatonic scale. However, there is consensus that there are gaps in their knowledge.